Lesson from Yoga Taravali
with Dr. H. V. Nagaraj Rao
Nāda-sādhana and the Inner Sound
Nāda-sādhana is the yoga of inner, divine sound. This practice centers on the mind’s absorption in anāhata—literally the “unstruck” sound that arises within when the mind grows still and receptive. It is revered as a direct pathway toward interiorization, concentration, and ultimately samādhi.
The Three Bandhas and the Rise of Kuṇḍalinī
Three foundational locks—mūla-bandha, uḍḍiyāna-bandha, and jalāndhara-bandha—govern prāṇa and stabilize attention. When these bandhas are truly mastered, one is said to slip free from the “noose of death,” for the mind no longer clings to the changing body and its fears. Through their coordinated application, kuṇḍalinī is awakened; prāṇa withdraws from its scattered movement, the breath turns inward, and awareness is drawn into the suṣumṇā-nāḍī. In this state, the breath becomes naturally suspended and still.
Kevala-kumbhaka and the Stream to the “Moon”
Among many forms of breath-retention, kevala-kumbhaka is extolled as supreme. Here the distinctions of effort and technique dissolve; breath becomes effortlessly quiet. As kuṇḍalinī ascends, it is poetically said to reach the “moon” in the head, releasing a current of amṛta (divine nectar). With the bandhas engaged and the mind tuned to anāhata, mental movement ceases.
Antaḥkaraṇa-traya and the Nāḍī System
The internal instruments (antaḥkaraṇa) of citta, manas, and buddhi are harmonized as the current of prāṇa leaves iḍā and piṅgalā (the “moon” and “sun” channels) and enters suṣumṇā. Ordinarily the breath is irregular—nirankuśa, “unbridled.” In prāṇāyāma it is tamed; when breath comes under mastery, the mind follows. In this interior stillness the latent power of the ātman awakens, and one is said to approach Viṣṇu-pāda—the “feet of the Divine,” a metaphor for the supreme refuge.
Cessation of the Indriyas
As prāṇa dissolves into stillness, the ten senses (jñānendriyas and karmendriyas) naturally subside. This is not suppression but resolution: the senses no longer pull outward, and awareness rests in itself.
Rāja-yoga: The Kingly Way
Āsana, prāṇāyāma, pratyāhāra, dhāraṇā, dhyāna, and samādhi are collectively called Rāja-yoga—“the yoga of kings,” because India’s ancient rājās were celebrated as exemplary yogins. There are many yogas, yet Rāja-yoga is praised as best among them. Some seekers taste samādhi swiftly through āsana and prāṇāyāma; such methods are essential for a beginner. When Rāja-yoga is mastered, one moves beyond method and abides in samādhi at will.
States of Consciousness and the Limits of Perspective
In ordinary life we are absorbed in the “scenery.” The yogin in samādhi stands free of its claims, neither asleep nor conventionally awake. Just as the coordinates of east–west–north–south lose meaning in outer space, so do our conceptual directions, systems, creeds, techniques, and even philosophies lose their grip in samādhi.
Transcending “I” and “Mine”: Manonmanī
For the advanced yogin, ahaṅkāra (“I am”) and mamakāra (“mine”)—the classic enemies of yoga—fall away. Ownership becomes irrelevant; the subject–object split collapses. This culmination is symbolized as the goddess Manonmanī, “she in whom the mind is unmade.” In her presence not only do “I” and “mine” dissolve, but even the breath grows silent; worldly ambitions and dilemmas become weightless.
Yama Perfected and the Flame Simile
When yama is fully mastered and internalized, one becomes a “yamendra,” lord of the restraints. The stabilized mind is like a lamp-flame unmoving in a windless place—an image also cherished in the Bhagavad Gītā. With senses governed and breath serene, consciousness rests steady and clear. Immersion in the Manonmanī state is the pinnacle of yoga attainable while living in the body.
Vairāgya and the World as Apparent
To reach Manonmanī the vidvān-yogin relinquishes transient pleasures, jealousies, rivalries, titles, and honors. All are temporary and ultimately meaningless beside Self-realization. As with a film—where danger and desire do not truly bind the viewer—the realized yogin sees the play of life as mere appearance (māyā). Knowing this, one becomes free—doubts, pulls, pleasures, and aversions lose their force.
Śaṅkara and the Word “Haṭha”
Śaṅkara (7th–8th century) mentions “haṭha.” Though most haṭha-yoga texts are later (11th–16th centuries), we cannot assume a discipline begins only when it is written down. Elements of haṭha—especially prāṇāyāma—evidently predate the extant manuals. Here, the emphasis is clearly on prāṇāyāma as an integral means toward samādhi.
Conclusion
Nāda-sādhana, the triad of bandhas, kevala-kumbhaka, and the inward turning of prāṇa into suṣumṇā together open the royal road of Rāja-yoga. As the senses quiet and “I” and “mine” fade, the yogin abides in Manonmanī—steady as a flame, free in the midst of appearances, established at the metaphorical feet of the Divine.
